The Bear Quartet

The lyrics of their music were written by Alkberg and Nuottaniemi, and the music was written by Alkberg, Haapalainen, and Olsson.[12] The band was very unusual compared to other bands, in a variety of ways, such as their unwillingness to play old songs on tour.[13] They have also had several guests on their music such as Sibille Attar on Monty Python, Karin Dreijer on Personality Crisis, Alexandra Dahlström on Ny Våg, and Mats Levén on Eternity Now.[14] At the beginning of their career, The Bear Quartet made much louder, fast-paced rock music which would often be very reliant on electric guitars, although later songs by the band would be much more reliant on acoustic guitars and they would have a slower tempo. They would later attempt many other different styles, such as the much more experimental style of Ny våg, Saturday Night, and Eternity Now. However, after they had released Eternity Now in 2006, they stopped releasing albums and EPs to consider what their next album should be like.[15][16] However, they were approached by Adrian Recordings to make a new album, to which they agreed.[17] The resulting album was 89. 89 was unlike any other album they had ever released in terms of its sound. It was a completely new kind of album for the band, very different from any other they had done, although this style would be retired shortly after it was introduced, as their final album, Monty Python, had a much different sound than 89, and the band had stopped producing music after two albums under Adrian

All albums by The Bear Quartet (with the exception of their two final albums, 89 and Monty Python, which were released under Adrian Recordings) were released on Skellefteå-based independent record label A West Side Fabrication, although they also released "Blizzard" as a single under Sticky Records, with "Headacher" as the B-side (both of which were released on their debut album, Penny Century).

The band's albums follow a very unusual naming scheme. Every title consists of two words, with the first always ending in a "y", although it is unknown why they chose this naming scheme. However, singles and EPs by the band do not follow this naming scheme. The only full-length album they've released that doesn't follow this naming scheme is their penultimate album, 89. Although, the word "eighty-nine" consists of two words (eighty and nine), and eighty ends in a "y".

In 2009, The Bear Quartet were nominated for a Grammis award, which they declined, saying they wanted nothing to do with it. They said in a letter:

"Tack men nej tack. Vi avsäger oss nomineringen, vi vill inte ha med Er att göra. Hoppas Ni respekterar detta. Vi tycker att en ursäkt vore på sin plats. Säg förlåt. Vänligen, The Bear Quartet,"[18][19][20][21][22] which translates to:

"Thanks but no thanks. We renounce the nomination, we do not want to have anything to do with you. Hope you respect this. We think an apology would be in order. Say sorry. Please, The Bear Quartet ”.

Alkberg later elaborated in an interview that, "Jag visste inget om att Adrian hade anmält oss till Grammisskiten förrän vi hade bestämt oss för att vi inte ville vara med....jag VILL sälja skivor. Jag VILL INTE ha med Grammisgalan att göra. Man behöver INTE ta det onda med det goda," which translates to:

"I did not know that Adrian had signed up for the Grammis shit until we had decided that we did not want to join....I WANT to sell records. I do NOT WANT to deal with the Grammis Awards. You do NOT have to take the bad with the good."[23] When asked in a separate interview why he did not want The Bear Quartet to be associated with the Grammis Awards, Alkberg replied, "Jag gillar inte att tävla i musik i allmänhet, och Grammisgalan i synnerhet. Jag vill inte att Bear Quartet ska vara förknippad med musikbranschen på det sättet. Att klappa varandra på ryggen och ge beröm för att man är så bra har så lite med oss att göra och det känns bara fel. Om andra vill hålla på med det får de gärna göra det, men vi vill inte vara med," which translates to:

"I do not like to compete in music in general, and the Grammis Gala in particular. I do not want the Bear Quartet to be associated with the music industry in that way. To pat each other on the back and give praise for being so good has so little to do with us and it just feels wrong. If others want to do it, they are welcome to do so, but we do not want to join."[24]

On July 17, 1993, The Bear Quartet recorded a session for John Peel, a British disc jockey, radio presenter, and record producer.[25] In 1993, when the session was recorded, the band did not have a permit to work in England, so the session was recorded in Studio KN in Skellefteå. Peel also conducted a phone interview with Haapalainen. This session was collected on the band's compiliation album, Early Years.[26] The songs recorded for this session include "Spoon", "High Noon", "Hrrn Hrrn", "Gone Gone", and "Sandi Morning and Lude".[27]

The Bear Quartet has spawned several side projects, although The Bear Quartet was still every member's main band.[28] Alkberg sings and plays in Mattias Alkberg BD, whose debut album, Tunaskolan, released in February 2004 and was very well received by critics and audiences alike.[29] Their music can be described as Swedish classic punk/new wave, with influences such as Tant Strul and Imperiet, both of which they have recorded covers of. Haapalainen has produced many other artists, such as Nicolai Dunger, Ed Harcourt, Camera Obscura, Kristofer Åström, The Concretes and Frida Hyvönen, and he used to play with Maria Erikkson from The Concretes. Olsson also used to play in Paddington DC, a more experimental electric pop project.[30]

Most of The Bear Quartet's albums received acclaim from Swedish music critics.[31][32][33][34][35][36]

Swedish music critic Björn Schagerström had this to say about Monty Python:[33]

"Det är fortfarande svårt att veta vad man kan förvänta sig av en ny skiva från Luleås finaste kvintett, jo, de är ju egentligen fem....På förra årets 89 tog till viss del Bear Quartet fram sina hårdrockriffiga influenser, ett inte helt lyckat drag i mitt tycke. Monty Python är jämnare, ofta en rent oumbärlig krock mellan inga gränser-experimentalism och melodistyrka. Byggstenarna som formar We're Not Gonna Make It, snygga körer, blipsynt, "orientaliskt" ringande gitarr, percussion och Mattias Alkberg-vibrato är ett av många lysande exempel. Ett annat orgeltonerna och den slingrande gitarren som samsas fint i Fist Or Hand men det är när Escape From Promille Hill hämtas upp av gitarristen Jari Hapaalainens flinka fingrar som Monty Python peakar. I alla fall i skrivande stund. De oväntade vändningarna och välvässade kanterna gör Monty Python till en upptäcktsfärd som räcker länge," which translates to:

"It is still difficult to know what to expect from a new record from Luleå's finest quartet, although they are actually five....In last year's 89, the Bear Quartet to some extent developed their hard rock riff influences, a not entirely successful move in my opinion. Monty Python is smoother, often an indispensable clash between no boundaries-experimentalism and melodic strength. The building blocks that shape We're Not Gonna Make It, good-looking choirs, eye-catching, "oriental" ringing guitar, percussion and Mattias Alkberg vibrato are one of many brilliant examples. Another organ tones and the winding guitar that coexist nicely in Fist Or Hand but that is when Escape From Promille Hill is picked up by guitarist Jari Hapaalainen's nimble fingers as Monty Pythonpeakar. At least at the time of writing. The unexpected twists and well-sharpened edges make Monty Python a journey of discovery that lasts a long time.

A Swedish music critic for dagensskiva.com had this to say about the band's penultimate album, 89:[31]

"Efter ett tretton skivor långt samarbete med A West Side Fabrication är det nu Adrian Recordings som tar emot stafettpinnen i och med . Detta, som råkar vara Malmöbolagets 89:e släpp, är årets mest emotsedda och infriar precis allt jag någonsin hoppats på. Till stor del lyser den experimentella lustan från  och  med sin frånvaro och en bred ljudbild av stora trummor, dubbelkaggar, effektpedaler och melodier att dö för träder istället fram. Mattias Alkbergs uttalande tidigt i inspelningsprocessen om att vilja låta som Kate Bushs två första skivor är inte långt från sanningen," which translates to:

"After a thirteen-disc long collaboration with A West Side Fabrication, it is now Adrian Recordings who receives the baton with. This, which happens to be Malmöbolaget's 89th release, is this year's most anticipated and fulfills exactly everything I ever hoped for. To a large extent, the experimental lust from  and  shines with its absence and a broad soundscape of large drums, double kegs, effect pedals and melodies to die for emerges instead. Mattias Alkberg's statement early in the recording process about wanting to sound like Kate Bush's first two records is not far from the truth."

A critic for hym.se had this to say about Holy Holy:[32]

"The Bear Quartet är angelägna även i sina minst inspirerande stunder – lägstanivån är imponerande. Femte albumet Holy Holy inleds med instrumentala ”Funny How We Remember These Little Details”, som är en varm och inbjudande bagatell, med en visslande Alkberg, enkla synthmelodier, där slutresultatet påminner om introt till en lättsam TV-serie (tänk brittisk komedi). Mer överraskande än bra. Ändå underhållande.

Till skillnad från de tre första skivorna, men i likhet med föregångaren Everybody Else (1995) är instrumenteringen mer varierad än tidigare; bland instrumenten hittas cabasa, ett maracas-liknande instrument, munspel och claves. Ljudmässigt pendlar låtarna mellan pop, soulfunk, bossanova och country. Det blir aningen spretigt, men den nya riktningen visar att medlemmarna ville undvika att fastna i ett och samma uttryck – de tyngre gitarrerna är som bortblåsta.

Holy Holy ger en fingervisning om melodierna som sedermera kom att fulländas på Moby Dick (1997) och Personality Crises (1998), men det betyder inte att denna skiva är ointressant eller misslyckad. Country-låtarna ”Born With Teeth” och ”At The Warehouse” bubblar av inspiration och vibrafon-klingande ”Hawser” borde användas som soundtrack till valfritt kosläpp. Frihetskänslan är total," which translates to:

"The Bear Quartet are keen even in their least inspiring moments - the minimum level is impressive. The fifth album Holy Holy begins with the instrumental "Funny How We Remember These Little Details", which is a warm and inviting trifle, with a whistling Alkberg, simple synth melodies, where the end result is reminiscent of the intro to an easy-going TV series (think British comedy). More surprising than good. Still entertaining.

Unlike the first three records, but like its predecessor Everybody Else (1995), the instrumentation is more varied than before; Among the instruments are cabasa, a maracas-like instrument, harmonica and claves. Sound-wise, the songs oscillate between pop, soul funk, bossa nova and country. It gets a little scattered, but the new direction shows that the members wanted to avoid getting caught up in one and the same expression - the heavier guitars are blown away.

Holy Holy gives an indication of the melodies that were later completed on  Moby Dick  (1997) and Personality Crises ( 1998), but that does not mean that this record is uninteresting or unsuccessful. The country songs "Born With Teeth" and "At The Warehouse" are bubbling with inspiration and vibraphone-sounding "Hawser" should be used as a soundtrack to any cow release. The feeling of freedom is total."

On July 30, 2010, the band performed their final live performance at the Storsjöyran musical festival in Östersund,[37] and on September 12, 2010, The Bear Quartet released their final album, Monty Python. In an interview, when asked what he would like to do after Monty Python, Alkberg said, "I don’t know if we’ll ever come back to anything....I don’t want to think about it anymore than I have to. This record has really, really taken it’s toll on us."[14] In another interview, when asked about the break-up of The Bear Quartet, Alkberg elaborated on their disbanding. "Somliga av oss stod inte ut med somliga andra....det hade varit dysfunktionellt sedan dag ett. Flera fick barn, somliga hade jobbigt att kombinera det med BQ. Somliga hade jobbigt med att andra hade barn. Och så drack vi lite väl hårt. Det var sån misär med BQ," which translates to:

"Some of us could not stand some others....It had been dysfunctional since day one. Several had children, some had a hard time combining it with BQ. Some had trouble keeping others from having children. And then we drank a little too hard. It was such a misery with BQ."[38]

• Mattias Alkberg – vocals, guitars
• Jari Haapalainen – guitars
• Björn Olsson - guitars
• Peter Nuottaniemi – bass
• Jejo Perkovic – drums
• Carl Olsson – keyboards

• Official site
• A West Side Story - The Bear Quartet Fan Pages
• Interview with Alkberg and Olsson